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We looked inside some of the posts by charlotterosecooperplacement and here's what we found interesting.
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Looking at colour considerations and having two serving sections
I'm not the most experienced on Photoshop, or Illustrator (as you can see), therefore my pen tool line drawings aren't going to be to a top design level. However, I didn't let this stop me trying, and although these example marquees look simple, they took about 4 hours to get the lines how I wanted them, as well as trying to find ways to have a gradient of different colours, this sounds like a lengthy time to achieve something so simple, but when you have limited skills it's hard to get the grasp of how tools work etc. But I wanted to push myself to expand those skills and learn further.
The bottom image with the arrows is beginning to show my thought process of where certain aspects will be placed. In the brief it says to have one main serving section but additional sections could be considered, as I'd also picked up on that the serving section needs to be accessible for wheel chair users, I had decided to add in an additional serving section. The main one being front facing to customers with a 1.25m from the ground height, along with a side serving section that is 1m from the ground where it will be labelled as wheel chair accessible, this is fair for all and is definitely worth taking into consideration. I had also thought about having the menu boards on the 1.25m and 1m board space, but then when I thought about a festival environment and if it gets high volume, you won't be able to see what's on the menu if they're closer to ground level, so what better way than to have them somewhere more elevated and higher up, along the top section of the marquee structure with the logo printed directly above on all sides so the brand clearly stands out, this also makes it easier for those in a festival environment to see the marquee from all angles to get a sense of what's being promoted. The next step is to consider where the lighting will be, choosing a suitable colour palette and picking uniform that will match with the logo and marquee aesthetic.
I had begun to test gradient colours, so lemon and lime (matching the garnish to a typical gin) and then red and a browny/grey colour, more unique and I could see this standing out more with the logo on the top. I'll continue to test colours and see what will work more for a festival environment.
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After having a play around with effects, filters and adjusting contrast and shadows slightly, I narrowed it down to 3 logos. The top one was to see if the design looked better without the entire inside of the frame being grey, I got so far along and zoomed out... I wasn't pleased with how it was going so decided not to continue. The second logo was where I'd put the design back into illustrator to see if the live trace enhancement made the appearance any more aesthetic, the answer was no not really, so I'd gotten this far being unhappy with my designs until I left it in black/grey scale and just had the slice of lime being the only element of colour, this made the logo come alive to me, it stood out amongst the rest and I finally had what I'd been working towards for a few days pretty much complete.
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Digitised Edits
Following on from drawing up the first initial sketches, I knew they weren't neat or in any shape ready to be digitised. Therefore, I sat and drew up a more refined version of the logo, this time, in black fine liner so that once it was scanned, the lines would be picked up easier, ready to test a few different effects in both Adobe Illustrator and Adobe Photoshop. I started by opening my image file into illustrator and live tracing the image this picks up all the line work and effectively makes the design bolder and cartoon like, I have done this previously yet only briefly this is how I know of the effect outcome. I didn't really like the visuals of just plain black and white, it didn't stand out to me as brand logo. With taking this into consideration I played around with a few more effects and got varied grayscale, this appeared much more indulging for a logo aesthetic and would stand out more in a festival environment. Sticking with the rosemary and lime, I kept the rosemary cross over at the top and added in a banner with 'Gin Lane' so it make it clearer as to what the whole identity was for/ about. This for me finalised an overall idea of the logo.
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Initial sketches for 'Brand Identity'/ logo
Once the Gin brief had been sent out via the University, I was highly interested as this is something I've never worked on previously (setting myself a new challenge), yet it's also beneficial to be able to work to a client's brief and know there is a good outcome if it's successful.
I started at the place where I knew I could expand further and go into more depth, this was by sketching initial ideas for the Gin Lane brand identity/ logo. When I think of Gin and from serving it within hospitality, nine times out of ten it would be served in a tumbler glass with ice and a sprig of rosemary or a slice of lime, so I incorporated these aspects into these first few sketches to try and give the logo some realness and purity. The GL straw in the middle was added last minute as the tumbler glass with ice and some rosemary/ lime looked really plain and bland. Although saying this, it still appeared quite bland when having just the glass itself, therefore, I went on to add an oval frame. The frame enhanced the design more and set your eyes to focus on what was within it. It appeared much more aesthetically pleasing especially with the sprigs of rosemary being across the top crossing over, it began to bring a solid idea together in my head. Gold was a first choice in colour as I always think (without being stereotypical) that those who drink Gin tend to be classy, again, as a starting point, this may change as I'd like to digitise my logo and having gold may prove tricky when it dulls down on a computer.
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Overall Experience of Wedding Set Up
The whole experience for me was one to remember. Although I've had experiences of working to briefs I've never had to work to a brief that was for someone's big day and it being within a professional environment. Taking my experience into consideration and thinking about what I've learnt from it, it's safe to say there is a lot of pressure and it's key to have an eye for detail to know that if one thing is out of place or doesn't quite look right, you need to alter it or completely re-do it. It seems like such a simple process, but you have to make sure you're doing everything correctly and within the guidelines of what clients want otherwise you'll receive bad feedback. It's about getting a good reputation, and as I was doing this experience under Novia wedding planning, it's their reputation as well so if the pressure wasn't enough, you have to think about how you're doing it for someone's business reputation. It was also positive for me to see the difference between a ceremonial set up and a reception set up, quite similar in ways but more accuracy needs to be applied for a ceremonial set up as the majority of people attending are looking out for the smaller details. The main part which I enjoyed was seeing the room and ambience coming together at the end, I much preferred the ceremonial set up opposed to the reception set up, even with the added pressure, as there was more to be achieved but overall it was a fun experience and I got to work professionally in a field I've never worked in before. Would I do it again, Yes as it's making someone else happy so you can leave knowing you've done a good job and to a high standard.
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The Crown (Function Room)
With having the pressure of ensuring all the chair covers were neat and in order, there was also the request from the Bride and Groom that the sashes were in alternate colour order, so pink then grey and so on and so forth. The same process had to be done with the first venue in that the bows would need to sit upright on the back of the chairs and not sag or droop low. With it being a ceremonial set up, it did take a lot longer than the first set up at Kingston Maurward as going round with the iron steaming the covers was essential and if this wasn't done correctly, you'd have to spend more time on one cover getting that one perfect before moving onto the next.
Another aspect of the wedding which I had helped out with was the wishing well, it was originally bought with a light brown wood effect which was then painted over with white acrylic, this needed a couple of layers of paint to fully hide the original colour, otherwise it would dry streaky and uneven. Battery powered lights and ribbon were then applied to the uphold structure of the wishing well to give more of a decorative aspect and a large bow with matching 'thank you' and 'Elaine and Steve' were attached. The use of the well was for guests attending the ceremony to put cards in, for me I felt that this was another big achievement to making someone's day special.
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The Crown (Function Room)
The Crown (Function Room), Saturday 18th March, 67 Covers, Candy Pink and Silver Sashes
This venue from where I was staying took longer to get too, roughly 45-50 minutes, and the set up was different as this was for a ceremony opposed to the reception. This is where I learnt that the covers once they were applied needed steaming, to drop any potential creases out of the inside and outside chairs. Not only did the covers need steaming but the chairs were placed in a particular order that when applying bows and covers, you had to move the outer chairs and leave the middle ones so you had a reference point to go back too ensuring they were all in a straight line as this was a crucial requirement, again, the pressure felt knowing you were doing this for someone's big day was immense.
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Kingston Maurward
The final few chairs were being set up whilst glasses and cutlery were then applied to the tables, these had a particular order of folded napkin, then to the right, fork, knife, spoon, just above this you would then have a wine glass, flute glass and a highball, finally in the middle of each napkin and cutlery there would be a plate with a knife sitting vertically across it. This is when you could see everything coming together.
The final part to setting up this venue was to go round and make sure all bows were level on chairs, all chairs were then put around the table neatly and knowing that no matter what the pressure was, you achieved something you'd never done before... which felt great! and there was the added benefit of knowing you could leave making someone else happy.
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Kingston Maurward
Once entering the venue, I could see that the tables had an initial layout, this was to meet the Bride and Grooms specifications prior to the rest of the chairs and tables being set up with covers, sashes, cutlery and glasses. Once the tables were in position, I then went on to help by placing the covers on each chair, this was the first step to getting everything look more aesthetic and even, the room itself was quite dark and dull so it enabled there to be a bit of colour and brightness, I'm not overly sure if this was intentional or if it was purely for the process of setting up.
Once a cover per chair had been placed out, it was then time to apply the cover to the chair itself, you'd think this would be simple - think again. If you're someone (like myself) who isn't used to setting up venues, you wouldn't know that the cover needs to be perfectly clean before it being applied to the chair (general knowledge), there can't be any creases, unless the cover is made to have folds/creases to fit the shape of the table, which these ones did and the cover needed to be pulled quite tightly against the chair to avoid 'ears' this was a term used which meant avoid raised bumpy areas. This took quite a while as there were roughly 47-50 covers and every chair needed to meet a certain spec as you're making someone's day special.
Following on from the chair covers being applied, it was then time to apply the sashes, again, if you're not familiar with it, as I wasn't, it's tricky to get the grasp of how the bow needs to sit and not sag or drop low on the bottom of the chair, I was shown how to tie the bow from start to finish, so it's a case of making sure the sash is perfectly even either side of the chair, bringing it close to the front of the chair leaving about a 1.5-2 inch drop from the top of the chair down, bring the sash round to the back, tie as you would normally, begin to hoop one section, but then bring the following hoop backwards over the top of the first hoop, pull tight and then adjust the fabric to pull the bow out.... this took about 4-5 times until getting it right as it just wouldn't sit right, in the end I got there, but if you attempt it so many times and crease the sash, you have to start it all over again and there's only so many sashes made to cater for that venue so there was applied pressure, this is what took the most amount of time.
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Kingston Maurward
Kingston Maurward, Friday 17th March 2017 (47 Covers, Rose/Coral Sashes)
In order for me to take part in the setting up of the venue, I had to travel to Dorset and arrange to stay with family so that I could then travel across two days in order to achieve the experience I did. Kingston Maurward College was the first location, from where I was staying this took about 30-40 minutes to get too with the materials and setting up equipment required.
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Applying for Placement...
Galleries:
Wednesbury/ Sandwell
Wolverhampton
Walsall
Whynot - Burton On Trent
Mac
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Applying for Placement...
Loughborough College:
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Applying for Placement...
Tate:
Following this, I had applied at Tate Liverpool to expand my opportunity:
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